DOCSLIB.ORG

Dandakaranya in Shanghai: a Transcultural Discussion of City-Zen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dandakaranya in Shanghai: a Transcultural Discussion of City-Zen Dandakaranya in Shanghai: A Transcultural Discussion of City-Zen Gisa Jähnichen+ (China) Abstract The Shanghai Conservatory of Music owns a large collection of ‘Oriental Musical Instruments’ that are exhibited and stored in its museum. Every week, a gamelan class is held in order to promote the collection of instruments. Recently, scenes from the Dandaka forest of the Ramayana were put in a dance performance ac- companied by students playing the large Javanese gamelan of the museum. The paper shows how the discussion of global human values as well as the neces- sity of practicing ensemble playing in a highly competitive cultural environment makes the gamelan class becoming a time space for mental recreation and a play- ground for social engagement. This paper attempts to discuss the many layers of this specific cultural environment in one of the biggest cities of the world. Special emphasis is given to the creative processes in changing perspectives on dealing with transcultural issues, labels, and emblematic structures in music and dance. Keywords: Zen, Gamelan Set, Ramayana, Urban Environment, Body Knowledge + Dr. Gisa Jähnichen,1 Professor, Shanghai Conservatory of Music, China. email: [email protected]. website: https://gisajahnichen.academia.edu/. Dandakaranya in Shanghai:… | 107 Introduction The Javanese gamelan set exhibited in the “Museum of Oriental Instruments,” which is part of the Shanghai Conservatory of Music, was a gift of Zhou Wenxuan, a rich and obviously kind Chinese who settled in Suzhou and came from Hong Kong. He arranged the import of the old set manufactured by Savando, the son of a court musician to King Solo II, with the help of the Indonesian Government. The gamelan set is placed in the museum of oriental instruments since 2005. It was only occasionally used by some instructors from Indonesia traveling to China who tried to teach one piece. They used gamelan standard notation with ciphers and time-space indications. Those instructions were part of some lectures in ethnomusicology, mainly organology, that are usually offered to undergraduate and graduate students in all departments. Participating students were learning this one single piece or some parts of it and then left alone with their fragmented knowledge and skills. They possibly thought of having “studied” gamelan music. Only few of them were further interested in dealing with the gamelan set or in developing creative ideas using the unique features a gamelan set can provide. Students of the department for composition were challenged by the visiting pro- fessor, Chong Kee Yong from Singapore, to compose music for chamber orchestra instruments that integrate elements of the gamelan set which their conservatory owns. They attended gamelan classes and studied with some effort tunings and the development of rhythmic cycles. In result, a number of interesting pieces were presented in a joint concert on December 22nd in 2016 (Figure 1). Figure 1. Poster of the first cooperation with the department of composition (Photo by the author). 108 | Gisa Jähnichen This performance, however, was creating another type of stress for the gamelan students as it was organized in the framework of a fixed composition and unfor- tunately noted down in absolute pitches that had to be translated into the specific cipher notation for gamelan keys. Nevertheless, this ‘cross-over’ performance was successfully conducted and appreciated by the audience because the stu- dents were used to this type of performance organization. Also, the invited dancer Agung Gunawan who improvised dance movements to some of the pieces added much excitement to the performed pieces though his dance was not much related to the composers’ ideas. In the following semesters, gamelan playing among the students at the Shanghai Conservatory of Music changed. Without the pressure of compulsory performanc- es on demand, the ensemble members established some new habits and used the weekly rehearsals to create a space of relaxation and comfort. Out of this situa- tion the students developed another project in order to give their playing a mean- ing in their own lives. This paper is to describe this development and to discuss some underlying problems in the context of understanding actual Zen practices in the urban environment of one of the largest cities of the world. Background Gamelan playing outside the cultural core area Java, Bali, or parts of Malaysia, is wide spread, mainly in the United States and some European countries. Not surprisingly, Asian countries are not very much interested in gamelan playing. Possible reasons could be the following: One is the colonial connotation of appro- priating Asian symbols and exhibiting attachment to culturally less valued perfor- mances compared to the highly developed skills represented in Western art music, a thought well investigated by Melvin & Cai (2004), especially in the first chapter about Shanghai in their publication. However, to local ethnomusicologists who often studied abroad, the gamelan is overly researched and westernized There exist a post-colonial sensitivity which reflects in dealing with cultural neighbors in a different way compared to approved musical standard education introduced through Westernized ideas either during the colonial period or through scholarly education overseas. In result, gamelan playing is geographically situated rather than musically investigated. This constructed cultural ownership associated with the Indonesian-Malay archipelago makes it on the one hand attractive to basic ethnomusicologists, and on the other hand suspect. National animosities and tendencies to politically exploit cultural symbols impose problems on gamelan playing beyond the geographic area in Asia. Only very few examples exist that try to overcome these difficulties either in the ‘American way’ by trying to keep to the ‘pure tradition’ thus avoiding appropriation at any costs, or through exploiting the gamelan as a sound tool regardless of its historical background. Both ways cre- ate issues, which will be discussed here. In 1983, Becker reflected in a much cited article on the use of gamelan in the US and says that: “There are now twenty or more Javanese (and additional Balinese) ensembles in America which regularly rehearse and perform and their number increases every year. Nearly all are supported by colleges and universities and only a handful have a Dandakaranya in Shanghai:… | 109 Javanese teacher. The degree to which gamelan music becomes part of our total cul- tural inheritance does not, I believe, depend exclusively on the number of ensembles in America or the number of Americans involved. It depends, I believe, on whether or not enough American composers take it seriously. Naturalization, some degree of adaptation and adjustment to the new context of a foreign or borrowed musical tradition, is the pattern followed world-wide. Borrowed traditions do not remain in the new context, but subtly shift, or rather, are sifted and re-arranged by musicians in the borrowing society.” (Becker, 1983:82). This statement which was based on the acceptance of singular cultures or cultur- al circles seemed right in a still colonizing mind set of elevating sound or sound tools of “foreign” origin into the entity of one’s ‘own culture’ through the means of seriousness of one’s own culture, in this case through composing music. America, as it seems, is the borrowing society and the gamelan is the carrier of the foreign musical tradition. She, as well as nobody before her, ever questioned the state of tradition ownership and cultural geography constructed through imagined cul- tural circles. This early ethnomusicological approach has to be challenged in the context of the 21st century (Giannastasio, 2017; Welsch, 2017; Feld, 2017). The fact of borrowing is not, I believe, just a cultural observation of changes. It is a change observed in the observer who claims for in- and exclusive cultural assets. If cultures are not closed systems, this shifting does not take place in the way it is projected, this borrowing also does not take place, and there is no arrange- ment that has to be re-arranged. The gamelan sets available all over the world are sound tools which are not different from any other functional item such as a piano, a violin, or a bell or a dance step. This cultural authenticity is constructed through isolative thinking and then academically reconstructed in early attempts to ‘preserve this constructed authenticity’ that is claimed through bizarre argu- ments similar to those for Egyptian belly dance as Jarrar broadly discussed in her comments “Why I can’t stand white belly dancers” (Jarrar, 2014). Knowing that a gamelan set was produced in Java or in Bali imposes another system of static knowledge boxes, from which any mind outside and inside the cultural frame can- not easily escape. However, only very few gamelan players of all these US Ameri- can university campuses were able to watch gamelan performances in Java or in Bali. And if so, they may not have had the time to internalize the deeper meaning of elementary sound structures, their histories, and the changes in associated personalities who are the actual leaders of these ensembles including their often contradictory views on modernity in gamelan playing. The claim of playing a Javanese gamelan might be, seen from this perspective, quite ridiculous. It is as if they would say that they play a Viennese recorder knowing that the city name dropped here adds to the reputation or authenticity and eventually to the marketability. The continuous misconstruction of musical cultures in the triangle of object, place, and transmitting agent leads to a large amount of bias reflected not only in the approach to gamelan playing, but also among the affected audience that feels often culturally qualified through touristic experiences or the chance of having attended a longer training in a gamelan play- 110 | Gisa Jähnichen ing community. The best proof for this type of misunderstandings was a ques- tion by a forum participant at the last Urban Plaza Conference in Bangkok who listened to this presentation in its short version.
Load more

Recommended publications
  • Svetasvatara Upanishad
    Adhyathma Ramayanam An English Translation by P.R.Ramachander <[email protected] > Vol. 2 Aranya Kandam Kishkinda Kandam Sundara Kandam Edited by T.N.Sethumadhavan <[email protected] > 3. Aranya Kandam (Chapter on forests) Synopsis: (Aranya Kanda is the story of Ramayana , when Rama, Sita and Lakshmana enter the deep forest It starts with the salvation of Virada a Rakshasa , Sara Bhanga a saint, meeting with sages to find out problems , going to hermitage of Sutheeshna who is a disciple of Agasthya, visiting hermitage of Agasthya and taking from him , the Kodanda bow left by Indra, the great prayer of Agasthya, going and settling down in Panchavati where he meets Jatayu, clearing the philosophical doubts of Lakshmana(Rama Gita) , meeting and teasing Soorpanaka the sister of Ravana, cutting off her nose, ears and breats by Lakshmana when she tries to harm Sita, Killing of Khara, Dhooshana and Trisiras and their army of 14000 people in one and half hours, Soorpanaka’s complaint to Ravana suggesting him to kidnap Sita, his visit to Maricha , Rama telling the real Sita to hide in fire and replace herself with a Maya Sita, Rama running to catch the golden deer, the false alam given by Maricha, the kidnapping of Sita, Fight of Jatayu with Rama, Jatayu’s defeat , Rama doing funeral rites to Jatayu and granting him salvation, The prayer of Jatayu, Rama’s giving salvation to Khabanda ,Khabanda’s great prayer , Rama’s meeting with Sabari who gives him hints as to how to proceed further.) Oh girl, oh parrot which is at the top , Who is with
    [Show full text]
  • Essence of Valmiki Ramayana in Four Parts So Far of Baala-Ayodhya-Aranya- and Now the Kishkindha
    ESSENCE OF VALMIKI KISHKINDHA RAMAYANA Translated and interpreted byV.D.N.Rao, former General Manager, India Trade Promotion Organization, Ministry of Commerce, Govt. of India, Pragati Maidan, New Delhi, now at Chennai 1 Other Scripts by the same Author: Essence of Puranas:-Maha Bhagavata, Vishnu Purana, Matsya Purana, Varaha Purana, Kurma Purana, Vamana Purana, Narada Purana, Padma Purana; Shiva Purana, Linga Purana, Skanda Purana, Markandeya Purana, Devi Bhagavata;Brahma Purana, Brahma Vaivarta Purana, Agni Purana, Bhavishya Purana, Nilamata Purana; Shri Kamakshi Vilasa Dwadasha Divya Sahasranaama: a) Devi Chaturvidha Sahasra naama: Lakshmi, Lalitha, Saraswati, Gayatri; b) Chaturvidha Shiva Sahasra naama-Linga-Shiva-Brahma Puranas and Maha Bhagavata; c) Trividha Vishnu and Yugala Radha-Krishna Sahasra naama-Padma-Skanda- Maha Bharata and Narada Purana. Stotra Kavacha- A Shield of Prayers -Purana Saaraamsha; Select Stories from Puranas Essence of Dharma Sindhu - Dharma Bindu - Shiva Sahasra Lingarchana-Essence of Paraashara Smriti- Essence of Pradhana Tirtha Mahima Essence of Upanishads : Brihadaranyaka , Katha, Tittiriya, Isha, Svetashwara of Yajur Veda- Chhandogya and Kena of Saama Veda-Atreya and Kausheetaki of Rig Veda-Mundaka, Mandukya and Prashna of Atharva Veda ; Also ‘Upanishad Saaraamsa’ -Essence of Maha Narayanopanishad; Essence of Maitri Upanishad Essence of Virat Parva of Maha Bharata- Essence of Bharat Yatra Smriti Essence of Brahma Sutras Essence of Sankhya Parijnaana- Essence of Knowledge of Numbers for students Essence
    [Show full text]
  • Ramakatha Rasavahini II 7 Preface for This Edition 8 This Book 9 the Inner Meaning 11 Chapter 1
    Ramakatha Rasavahini II Stream of Sacred Sweetness Sathya Sai Baba Contents Ramakatha Rasavahini II 7 Preface for this Edition 8 This Book 9 The Inner Meaning 11 Chapter 1. The Dandaka Forest 12 The fool Jayanta 12 A visit to the sage Athri’s hermitage 12 A stay at a beautiful hermitage 13 An encounter with Viradha, the ogre 14 Sarabhanga immolates himself 14 Sutheekshna adores Rama 15 On to Agastya’s ashram 16 Agastya asks not to be deluded into egotism 17 The story of the curse on Dandaka Forest 18 On to Dandaka Forest 18 Chapter 2. Panchavati 20 Lakshmana’s sense of duty 20 Rama constantly has visitors 21 Rama discourses on spiritual matters 22 Surpanakha falls for Lakshmana 23 Surpanakha is punished 24 The demons want revenge 25 The demons kill each other! 26 Ascetic sages visit Rama 27 Ravana hears Surpanakha’s story 28 Chapter 3. The Wily Villain 30 The thoughts of Ravana and Vibhishana 30 Ravana enlists Maricha’s help 30 Rama and Sita discuss their plans 31 The deer entices the brothers 32 Rama stalks and kills the deer 33 Caught between two loyalties 34 Sita is kidnapped! 35 Jatayu tries to save Sita 35 The brothers lament Sita’s disappearance 36 Lakshmana realizes the truth 37 Rama assents 38 Study the Ramayana closely! 39 Jatayu tells them what he knows 39 Ajamukhi loses her limbs 40 Rama kills Kabanda 40 Sabari tells her story 41 Rama admires devotion 42 Sabari tells what she knows 43 Chapter 4. An Ally Accepted 45 Hanuman meets the brothers 45 The brothers meet Sugriva 46 Lakshmana identifies some of the jewels 47 Sugriva tells his story 47 The story of the curse on Vali 49 Rama exhibits his power 50 Sugriva pours out his feelings 51 The battle between Vali and Sugriva 52 Rama kills His devotee, Vali 54 Rama consoles Tara 56 The search for Sita is delayed by weather 57 Chapter 5.
    [Show full text]
  • Sand in Our Hands: the Little- Known Stories of Vasai-Palghar
    38 Sand in Our Hands: The Little- known Stories of Vasai-Palghar Dr. Deepa Murdeshwar-Katre The word ‘indigenous’ originates in colonial references wherein the culture and literature of the colonizer was different from that of the native, and the literature of the latter came to be known as ‘indigenous’. It is the significant ‘Other’. Correspondingly, all literature in India as a colony of the British would have been considered ‘indigenous’. In the post- colonized scenario, the word indicates literature in English as against regional language literatures. It also refers to the ‘tribal’ as contrary to ‘urban’ or ‘mainstream’, which has been immensely influenced by the literature of the colonizers. However, in India, as Dr. G. N. Devy in the introduction to Painted Words: An Anthology of Tribal Literature states, “It is almost impossible to characterize all of India’s tribals in a single ethnographic or historic framework. In the Indian context, the term ‘tribal’ is too layered to be a synonym for ‘indigenous.” While most countries of the world have two types of literature, the ‘tribal’ and the ‘mainstream’, in India, there are broadly three types, viz., the ‘tribal’, ‘rural’ and ‘mainstream’ or ‘metropolitan’. Dr. Devy, in his observation on parampara in After Amnesia, broadly divides it into the “Marga - the metropolitan or mainstream tradition, and Desi - regional and subcultural traditions”(18). He thus includes the literature of the villages - the gramin (14) - in the second group - the important link between the two extremes of ‘tribal’ and ‘urban’. Many of the stories of these villages are intimately and intricately connected not only with the tribal but also mainstream literature of olden times.
    [Show full text]
  • 16 Cultivate Sacred and Noble Thoughts
    Sathya Sai Speaks vol 39 16 Cultivate Sacred And Noble Thoughts Embodiments Of Love! Many ladies are eager to hear Swami’s discourse in Telugu. They have expressed that ,“The students are highly educated and speak in fluent English about some technical and engineering topics. Swami is also encouraging them. But we are unable to understand them. We will be happy to hear Swami’s discourse in simple Telugu.” Sweeter than sugar, tastier than curd, Sweeter indeed than honey is The Name of Rama. Constant repetition of this sweet Name Gives one the taste of divine nectar Itself. Therefore, one should contemplate on The Name of Rama incessantly. (Telugu poem) Embodiments Of Love! The country of Bharat is ancient and has a glorious history. There is no village in Bharat where there is no temple of Lord Rama. In whichever village you see, you will come across at least a few persons with the name ‘Rama’. Since ancient times, the Rama Nama has been shining brilliantly in the entire length and breadth of the country of Bharat without undergoing any change. The astikas (theists), nastikas (atheists) and asthika nastikas (theistic atheists) are all chanting the name ‘Rama’. For example, a person while getting up from his seat utters the name ‘Rama’. The Rama Nama is so popular in the daily life of people in Bharat. Not only here, even in China, Rama Nama has become popular. In fact, Rama Nama has spread to the entire world. The Rama Story King Dasaratha did not have children for a long time. He had three wives.
    [Show full text]
  • Ramakatha Rasavahini II Chapter 1
    Chapter 1. The Dandaka Forest hile Bharatha was spending his days at Nandigrama in constant contemplation of Rama, far away in the Wforest, on Chitrakuta Peak, Sita, Rama, and Lakshmana were praising his devotion and sense of dedica- tion. They were happy in the peaceful, quiet forest home. The fool Jayanta One day, a fool named Jayanta sought to measure Rama’s valour, an adventure as foolish and suicidal as the attempt of an ant to discover the depth of the ocean! Prompted by sheer mischief, he transformed himself into a crow and, approaching Sita, who was seated by Rama’s side, lost in the contemplation of the scenery spread out before them, pecked at the sole of her tender foot with his sharp beak, causing blood to trickle from the wound. Seeing the blood, Rama plucked a blade of dry grass from the ground and threw it at the crow. Rama would never hurt anyone who had not done any injury. But when it is necessary, and when it has to be done, even Rahu will swallow the Moon, right? So too, Rama. He would never hurt the innocent. But that blade of grass became a huge flame of fire and flew toward Jayanta. And when he fled, it pursued him relentlessly wherever he went. Helpless and frightened, the crow returned to its original form, and Jayanta fell at Rama’s feet praying for succour. Indra learned that the culprit was his own son, and he too repented for his son’s audacity and irreverence. Jayanta prostrated before Rama, pleading for mercy.
    [Show full text]
  • Select Stories from Puranas
    SELECT STORIES FROM PURANAS Compiled, Composed and Interpreted by V.D.N.Rao Former General Manager of India Trade Promotion Organisation, Pragati Maidan, New Delhi, Ministry of Commerce, Govt. of India 1 SELECT STORIES FROM PURANAS Contents Page Preface 3 Some Basic Facts common to Puranas 3 Stories related to Manus and Vamshas 5 (Priya Vrata, Varudhini & Pravaraakhya, Swarochisha, Uttama, Tamasa, Raivata, Chakshusa, and Vaiwasvata) The Story of Surya Deva and his progeny 7 Future Manus (Savarnis, Rouchya and Bhoutya) 8 Dhruva the immortal; Kings Vena and Pruthu 9 Current Manu Vaiwasvata and Surya Vamsha 10 (Puranjaya, Yuvanashwa, Purukutsa, Muchukunda, Trishanku, Harischandra, Chyavana Muni and Sukanya, Nabhaga, Pradyumna and Ila Devi) Other famed Kings of Surya Vamsha 14 Origin of Chandra, wedding, Shaapa, re-emergence and his Vamsha (Budha, Pururava, Jahnu, Nahusha, Yayati and Kartaveeryarjuna) 15 Parashurama and his encounter with Ganesha 17 Matsya, Kurma, Varaha, Nrisimha, Vamana and Parashurama Avataras 18 Quick retrospective of Ramayana (Birth of Rama, Aranya Vaasa, Ravana Samhara, Rama Rajya, Sita Viyoga, Lava Kusha and Sita-Rama Nidhana) 21 Maha Bharata in brief (Veda Vyasa, Ganga, Bhishma& Pandava-Kauravas & 43 Quick proceedings of Maha Bharata Battle Some doubts in connection with Maha Bharata 50 Episodes related to Shiva and Parvati (Links of Sandhya Devi, Arundhati, Sati and Parvati; Daksha Yagna, Parvati’s wedding, and bitrh of Skanda) 52 Glories of Maha Deva, incarnations, Origin of Shiva Linga, Dwadasha Lingas, Pancha
    [Show full text]
  • Essence of Valmiki Aaranya Ramayana
    Translated and interpreted byV.D.N.Rao, former General Manager, India Trade Promotion Organization, Ministry of Commerce, Govt. of India, Pragati Maidan, New Delhi, now at Chennai Other Scripts by the same Author: Essence of Puranas:-Maha Bhagavata, Vishnu Purana, Matsya Purana, Varaha Purana, Kurma Purana, Vamana Purana, Narada Purana, Padma Purana; Shiva Purana, Linga Purana, Skanda Purana, Markandeya Purana, Devi Bhagavata;Brahma Purana, Brahma Vaivarta Purana, Agni Purana, Bhavishya Purana, Nilamata Purana; Shri Kamakshi Vilasa Dwadasha Divya Sahasranaama: a) Devi Chaturvidha Sahasra naama: Lakshmi, Lalitha, Saraswati, Gayatri; b) Chaturvidha Shiva Sahasra naama-Linga-Shiva-Brahma Puranas and Maha Bhagavata; c) Trividha Vishnu and Yugala Radha-Krishna Sahasra naama-Padma-Skanda-Maha Bharata and Narada Purana. Stotra Kavacha- A Shield of Prayers -Purana Saaraamsha; Select Stories from Puranas Essence of Dharma Sindhu - Dharma Bindu - Shiva Sahasra Lingarchana-Essence of Paraashara Smriti- Essence of Pradhana Tirtha Mahima Essence of Upanishads : Brihadaranyaka , Katha, Tittiriya, Isha, Svetashwara of Yajur Veda-Chhandogya and Kena of Saama Veda-Atreya and Kausheetaki of Rig Veda-Mundaka, Mandukya and Prashna of Atharva Veda ; Also ‘Upanishad Saaraamsa’ -Essence of Maha Narayanopanishad; Essence of Maitri Upanishad Essence of Virat Parva of Maha Bharata- Essence of Bharat Yatra Smriti Essence of Brahma Sutras Essence of Sankhya Parijnaana- Essence of Knowledge of Numbers for students Essence of Narada Charitra; Essence Neeti Chandrika-Essence
    [Show full text]
  • Valmiki Ramayana: a Spiritual Hermeneutic Reading
    International Journal of Academic Research in Business and Social Sciences Vol. 8 , No. 10, Oct. 2018, E-ISSN: 2222 -6990 © 2018 HRMARS Valmiki Ramayana: A Spiritual Hermeneutic Reading Puganeswari Balakrishnan & Rahimah A. Hamid To Link this Article: http://dx.doi.org/10.6007/IJARBSS/v8-i10/5294 DOI: 10.6007/IJARBSS/v8-i10/5294 Received: 30 Sept 2018, Revised: 27 Oct 2018, Accepted: 02 Nov 2018 Published Online: 03 Nov 2018 In-Text Citation: (Balakrishnan & Hamid, 2018) To Cite this Article: Balakrishnan, P., & Hamid, R. A. (2018). Valmiki Ramayana: A Spiritual Hermeneutic Reading. International Journal of Academic Research in Business and Social Sciences, 8(10), 1235–1244. Copyright: © 2018 The Author(s) Published by Human Resource Management Academic Research Society (www.hrmars.com) This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode Vol. 8, No. 10, 2018, Pg. 1235 - 1244 http://hrmars.com/index.php/pages/detail/IJARBSS JOURNAL HOMEPAGE Full Terms & Conditions of access and use can be found at http://hrmars.com/index.php/pages/detail/publication-ethics 1235 International Journal of Academic Research in Business and Social Sciences Vol. 8 , No. 10, Oct. 2018, E-ISSN: 2222 -6990 © 2018 HRMARS Valmiki Ramayana: A Spiritual Hermeneutic Reading Puganeswari Balakrishnan and Rahimah A. Hamid Pengajian Ilmu Kemanusiaan, Universiti Pusat Sains Malaysia, 11800 Pulau Pinang Malaysia Abstract Ramayana is a Hindu epic literature that is popular among the traditional Indian community.
    [Show full text]
  • NILKANTH CHARITRA (Bhagwan Swaminarayan’S Pilgrimage of India As a Young Ascetic)
    A Textbook of the Satsang Examinations Series: 5 NILKANTH CHARITRA (Bhagwan Swaminarayan’s pilgrimage of India as a young ascetic) Translation by: BAPS Sadhus Gujarati Text: Prof. Ramesh M. Dave SWAMINARAYAN AKSHARPITH Ahmedabad NILKANTH CHARITRA (English Edition) BLESSINGS (Bhagwan Swaminarayan’s pilgrimage of India as a young ascetic) A textbook for the examination prescribed under the curriculum set by The youth movement established and nourished by Bochasanwasi Shri Akshar Purushottam Swaminarayan Sanstha. Brahmaswarup Yogiji Maharaj has been expanding at a very rapid pace. With a view to satisfying the aspirations and the thirst for Inspirer: HDH Pramukh Swami Maharaj knowledge of the youth joining the organisation, and also to enable them to understand and imbibe the principles of Akshar and Purushottam expounded by Bhagwan Swaminarayan, the Previous Editions: 1977, 1983, 1987, 1994, 1997, 2002 publications division, Swaminarayan Aksharpith, organised under 6th Edition 1st Reprint: July 2007 the auspices of Bochasanwasi Shri Akshar Purushottam Swaminarayan Sanstha, has produced a series of books. Copyright: © SWAMINARAYAN AKSHARPITH Through these books, it is intended to impart systematic, All rights reserved. No part of this book may be used or reproduced in any form or sustained and pure knowledge in simple language on a scholastic by any means without permission in writing from the publisher, except for brief basis to children and youth of the Swaminarayan Sampraday. It is quotations embodied in reviews and articles. hoped that this Sanstha, established by Brahmaswarup Shastriji Maharaj for implementing and propagating the Vedic ideals , , Copies: 5,000 (Total Copies: 20,000) propounded by Bhagwan Swaminarayan will through this activity, spread the ideals and noble traditions of the Sampraday ISBN: 81-7526-196-X and through it, the culture and heritage of the Hindu religion.
    [Show full text]
  • Rama's Journey from Ayodhya to Lanka
    Rama’s Journey from Ayodhya to Lanka --Geographical Locations along the way न ते वागनताृ काव्ये कािचदऽ भिवंयित कु रु रामकथां पुण्यां ोकबां मनोरमाम ् 1.2.35 (VAlmIki Ramayanam BAlakANDam) Meaning: “In this poetical work, not even one of your words will ever prove to be untrue. Compose this sacred, pleasing story of Rama, set in the form of shlokAs”. यावत ् ःथाःयत िगरयःसरत महतले ताविामायणकथा लोके षु ूचरंयित 1.2.36 Meaning: “As long as the mountains and rivers exist on this earth, so long will the story of Ramayana prevail and spread among the people.” Lord Brahma was supposed to have appeared before sage Valmiki and uttered the verses quoted above to encourage Valmiki to narrate the story of Rama (as heard from sage Narada) in verse form. Thus Valmiki sang the story of Ramayanam in 24000 couplets, through divine inspiration, which is considered a primordial epic (Adhi kAvyam) in the whole world. The Sanskrit phrase RAmasya ayaNam iti RAmAyaNam, means “RAmAyaNam is Rama’s adventure or journey”. Ramayanam in a nutshell: The celestials were bothered by demons and especially by Ravana who ruled Lanka. They appealed to Lord Vishnu who agreed to take a human incarnation to annihilate Ravana (via an intelligent design) since the latter obtained boons not to be slain by celestials, gods, animals, or other demons. Lord Vishnu was born as the first son of king Dasharatha. In due course he married Sita (daughter of king Janaka) in the city of Mithila and returned to Ayodhya.
    [Show full text]
  • Rama Katha,Rama's Appearance Day Celebrations
    Rama Katha Rama Katha Venue: Bahrain Date: April 15, 2016 Janaki Jivan Sita Mohan Rama This short song talks about Sri Rama as Ayodhyavasi. We have Vrajavasi, Vrindavanvasi, Mayapurvasi. Like that there is also Ayodhavas. Vas means to reside. This residence isAyodhya . Those who reside there are calledAyodhyavasis and Rama Himself is Ayodhyavasi. ayodhyavasi rama rama rama dasharatha nandana rama Dasharathanandana and Kaushalyanandana. Kaushalya’s name is not mentioned in this song. sambhavami yuge yuge And the purpose is patitanam pavanebhyo. Vaisnavas are also like that. patita pavana janaki jivan Sri Rama is a Janaki jivan. Janaki Jivan like Radha Jivan or Vishnu Priya Jivan. Rama is Janki Jivan. Rama is Patitapavan, but who is patita? We are in this material existence so that’s an indication. We must be Patita otherwise why would we be here. Patita means fallen, fallen fromAyodhya or Goloka. There is also Ayodhya up there. Above Vaikuntha is Saket Dhama. Above Saket or Ayodhya is Goloka. So Vrindavan is here, Gokul is here. Goloka is up there. Ayodhya is here and Ayodhya is also up there. So from somewhere up there we have fallen. Then comes Sri Rama then Sri Krishna and then Sri Krishna Caitanya Mahaprabhu. jivane marane gati ara nahi mora That is the spirit, I don’t know any other destination but you. Radha Krishna prana mora or Sita Rama prana mora. Sita has her prannatha, Sri Rama. patita pavana janaki jivana sita mohan rama Sita Mohan is like Radha Mohan. Sita Mohan Rama means Sita attracts Rama, Rama becomes mohit. Sita is attractive and attracts the all attractive.
    [Show full text]